The all-out attack by the Jewish Supremacist “Anti-Defamation League” (ADL) on actor Gary Oldman for daring to mention that Jews run Hollywood has highlighted the fact that Jews can routinely boast about that fact—but if a Gentile says the same thing, they are attacked as “anti-Semites.”

Oldman (known for roles like Harry Potter’s Sirius Black and spy George Smiley in Tinker Tailor Soldier Spy), when asked in a recent Playboy interview about actor/producer Mel Gibson’s earlier remarks about Jews, said that “Mel Gibson is in a town that’s run by Jews and he said the wrong thing because he’s actually bitten the hand that I guess has fed him.”

For this “sin” Oldman was condemned by the ADL and immediately issued a grovelling apology, saying that he hoped his “heartfelt apology would be received as genuine as he intended it to be” and that he has “nothing against Jews.”

This apology was however not good enough for the ADL’s Abe Foxman, who in a press statement said that“We have just begun a conversation with his managing producer”—in other words that the Jewish Supremacists will now be seeking to smash Oldman’s career.

“While his apology may be heartfelt, Mr. Oldman does not understand why his words about Jewish control were so damaging and offensive, and it is therefore insufficient,” Foxman added.

However, Foxman has never said anything when his fellow Jews have said exactly what Oldman said—and even more.

For example, the Jewish journalist Joel Stein, who used to write for the Los Angeles Times and who currently writes for Time magazine, wrote a large article in the LA Times on December 19, 2008, titled “Is Hollywood Run by Jews? You Bet.”

In this article (now “retitled” on the LA Times website as “Who runs Hollywood? C’mon”—obviously the original title was too truthful), Stein explained precisely how Jews control Hollywood:

I have never been so upset by a poll in my life. Only 22% of Americans now believe “the movie and television industries are pretty much run by Jews,” down from nearly 50% in 1964. The Anti-Defamation League, which released the poll results last month, sees in these numbers a victory against stereotyping. Actually, it just shows how dumb America has gotten. Jews totally run Hollywood.

How deeply Jewish is Hollywood? When the studio chiefs took out a full-page ad in the Los Angeles Times a few weeks ago to demand that the Screen Actors Guild settle its contract, the open letter was signed by: News Corp. President Peter Chernin (Jewish), Paramount Pictures Chairman Brad Grey (Jewish), Walt Disney Co. Chief Executive Robert Iger (Jewish), Sony Pictures Chairman Michael Lynton (surprise, Dutch Jew), Warner Bros. Chairman Barry Meyer (Jewish), CBS Corp. Chief Executive Leslie Moonves (so Jewish his great uncle was the first prime minister of Israel), MGM Chairman Harry Sloan (Jewish) and NBC Universal Chief Executive Jeff Zucker (mega-Jewish). If either of the Weinstein brothers had signed, this group would have not only the power to shut down all film production but to form a minyan with enough Fiji water on hand to fill a mikvah.

The person they were yelling at in that ad was SAG President Alan Rosenberg (take a guess). The scathing rebuttal to the ad was written by entertainment super-agent Ari Emanuel (Jew with Israeli parents) on the Huffington Post, which is owned by Arianna Huffington (not Jewish and has never worked in Hollywood.)

The Jews are so dominant, I had to scour the trades to come up with six Gentiles in high positions at entertainment companies. When I called them to talk about their incredible advancement, five of them refused to talk to me, apparently out of fear of insulting Jews. The sixth, AMC President Charlie Collier, turned out to be Jewish.

As a proud Jew, I want America to know about our accomplishment. Yes, we control Hollywood. Without us, you’d be flipping between “The 700 Club” and “Davey and Goliath” on TV all day.

So I’ve taken it upon myself to re-convince America that Jews run Hollywood by launching a public relations campaign, because that’s what we do best. I’m weighing several slogans, including: “Hollywood: More Jewish than ever!”; “Hollywood: From the people who brought you the Bible”; and “Hollywood: If you enjoy TV and movies, then you probably like Jews after all.”

Significantly, Stein ended his boastful article with the following illuminating comment:

But I don’t care if Americans think we’re running the news media, Hollywood, Wall Street or the government. I just care that we get to keep running them.

Stein has not has his “employers spoken to” by Foxman and the ADL, unlike the unfortunate Gary Oldman.

The difference is, of course, that the Jews are perfectly happy as long as it is they who boast about their control of Hollywood—but woe betide any Gentile who dares to say the same thing—they are just anti-Semites.

Stein is not the only prominent Jewish journalist to have boasted about Jewish control of Hollywood.

In August 1996, the Jewish magazine Moment (which describes itself as “North America’s premier Jewish magazine, founded in 1975 by Nobel Prize laureate Elie Wiesel”) ran a front page article titled “Jews Run Hollywood—So What?” written by Jewish journalist Michael Medved.

(This article too, has been “retitled” on the Moment magazine archives to “Is Hollywood too Jewish?” also because the original title was too truthful.)

Medved said in the article that:

It makes no sense at all to try to deny the reality of Jewish power and prominence in popular culture. Any list of the most influential production executives at each of the major movie studios will produce a heavy majority of recognizably Jewish names.

The article then describes how the Jew Michael Eisner, the Head of Walt Disney studios only hires “highly paid Jewish moguls” as producers such as Jeffrey Katzenberg, Michael Ovitz, Joe Roth (former head of 20th Century Fox).

Medved also reveals how Jews also took over the only major Hollywood studio which was run by Gentiles: the Walt Disney Corporation:

The famous Disney organization, which was founded by Walt Disney, a gentile Midwesterner who allegedly harboured anti-Semitic attitudes, now features Jewish personnel in nearly all its most powerful positions.

Medved continues:

Men and women of Jewish background enjoy a vastly disproportionate—if not dominate—influence in Hollywood.

He also points out that even studios which were bought out by the Japanese Sony Corp. and by Rupert Murdoch, still had to hire

a Yiddish team of long-time industry leaders in all the most powerful positions. When Mitsushita took over MCA-Universal, they did nothing to undermine the unquestioned authority of Universal’s legendary—and all-Jewish—management triad of Lew Wasserman, Sid Scheinberg and Tom Pollack.

Medved added that most of today’s movie moguls graduated from Ivy League colleges, “where Jews are vastly over-represented—just as they are in Hollywood.”

He says that nepotism plays a role exemplified with Samuel Goldwyn Pictures being run by the son of founder Samuel Goldwyn and a third generation, Tony Goldwyn, is waiting in the wings to take over.

He adds:

This dynastic tendency in American entertainment certainly is a factor in the continued prominence of the Jewish role.

While Hollywood never stops portraying whites as degenerate criminals at every conceivable occasion, Jews are always portrayed as heroes, according to Medved:

Jewish writers and directors employ unquestionably flattering depictions of Jews for audiences to react with sympathy and affection.

Interestingly, Medved also pointed out that the general public was aware of the Jewish control of Hollywood, and that this degenerative effect was the cause of resentment:

Poll after poll, taken over the past 10 years, shows that the public believes this industry is more firmly associated with Jews than any other business in the world. That it is almost universally viewed as a destructive force in our society should be of concern.

And he ends with this significant remark:

The combined weight of so many Jews in one of America’s most lucrative and important industries gives the Jews of Hollywood a great deal of political power. They are a major source of money for Democratic candidates. The industry’s informal patriarch, MCA chairman Lew Wasserman, wields tremendous personal clout in state and national politics. So do Barbara Streisand, Norman Lear and others.

Once again, Medved has never had his “employers spoken to” or had his career derailed by the Foxmans of the world—simply because he is Jewish and allowed to say these things.

There is even a commercially available book about the Jewish control of Hollywood, written by the Jew Neal Gabler, titled An Empire of Their Own: How the Jews Invented Hollywood.

Gabler is a Senior Fellow at the USC Annenberg Norman Lear Center and is a cohost along with Medven of the American film review show, Sneak Previews (which ran for over two decades on the Public Broadcasting Service).

His 512 page book details precisely how Jews have taken over and run Hollywood. On page 263, Gabler even describes this takeover as the work of a “Jewish cabal.”

On the first page of his book he states how the industry was “supervised” by Jews, goes on to detail the workings of the “Jewish network”, and specifies how the studios “preferred to deal with other Jews”(p.272).

Gabler also reveals that the Hollywood Jews practice anti-Gentile discrimination.

“Those goyim!” Harry Warner would yell in derision, or “He’s a nice fellow for a goy” a Jew might say but only in their inner sanctums, when they were safe among fellow Jews, and only verbally. (p.280).

According to the book’s official description, this “wonderful history of the golden age of the movie moguls” (Chicago Tribune ) is a provocative, original, and richly entertaining group biography of the Jewish immigrants who were the moving forces behind the creation of America’s motion picture industry.

The Amazon.com editorial review describes Gabler’s book as follows:

That subtitle may inspire in some readers waves of ethnic pride, and in others waves of ethnic revulsion, but the point of this book is that its claim of origin is quite literally true. And what makes it an interesting read for political types is the way it demonstrates that no matter how much the founding Hollywood moguls and their successors tried to peddle an idealized, escapist form of entertainment, bubbling up under and around their every project was ideology, racism, ethnic prejudice, class friction, domestic and international politics and all the other raw, seething stuff that distinguishes this country from all others. In Gabler’s hands, the Industry draws a picture of American political history in spite of itself.

Once again, the Jewish Supremacist hypocrites like Foxman did not “speak to Gabler’s employers” or otherwise smash his career.

Instead, the Jewish-owned New York Times described Gabler’s book as “enthralling book of social history.”

The book was adapted into a documentary movie in 1998. As usual, the film has two titles, distributed to different markets: Hollywoodism: Jews, Movies and the American Dream (original title for A&E) and Hollywood: An Empire of Their Own (title for video/DVD).

This film, once again made by Jews for Jews, was not the subject of the ADL’s venom. Instead, this exposé of Jewish control of Hollywood won an award for “Best Jewish Experience Documentary” at the 1998 Jerusalem Film Festival.

You have to wonder what Gary Oldman was smoking during his Playboy interview — the one where he defended Mel Gibson and said that Jews “run” Hollywood.

So they persecute. Mel Gibson is in a town that’s run by Jews and he said the wrong thing because he’s actually bitten the hand that I guess has fed him—and doesn’t need to feed him anymore because he’s got enough dough. He’s like an outcast, a leper, you know? But some Jewish guy in his office somewhere hasn’t turned and said, “That fucking kraut” or “Fuck those Germans,” whatever it is? We all hide and try to be so politically correct. That’s what gets me. It’s just the sheer hypocrisy of everyone, that we all stand on this thing going, “Isn’t that shocking?” [smiles wryly] All right. Shall I stop talking now? What else can we discuss?

It seems like every few years a Hollywood celebrity comes out and states the obvious—Marlon Brando, William Cash, Oliver Stone, Rick Sanchez, Mel Gibson, and now Gary Oldman. The list includes not a few Jewish commentators as well, including Joel Stein in the LA Times, Manny Friedman writing  in the  Times of Israel, Ben Stein (see below) and this issue of Moment.

The LA Times, on the other  hand understands how the game is played. Every year around Oscar time they put out editorials and articles bemoaning the “overwhelmingly white male membership of the academy” and that “film, TV diversity doesn’t look like America’s.” Then the next year, they do it all over again because nothing changes.

Some bastions of “White power” are not to be seriously contested.

The reason one must question Oldman’s state of mind is that we all know what happens next. The ADL goes crazy and Oldman issues an abject apology. Here’s Oldman’s apology, as reported by JTA:

“I am deeply remorseful that comments I recently made in the Playboy Interview were offensive to many Jewish people. Upon reading my comments in print — I see how insensitive they may be, and how they may indeed contribute to the furtherance of a false stereotype. Anything that contributes to this stereotype is unacceptable, including my own words on the matter.

“I hope you will know that this apology is heartfelt, genuine, and that I have an enormous personal affinity for the Jewish people in general, and those specifically in my life.”

Oldman also said that he had just finished reading “An Empire of Their Own: How the Jews Invented Hollywood,” by Neal Gabler. “The fact is that our business, and my own career specifically, owes an enormous debt to that contribution,” he wrote.

Heartfelt or not, it wasn’t enough for the ADL:

“While his apology may be heartfelt, Mr. Oldman does not understand why his words about Jewish control were so damaging and offensive, and it is therefore insufficient,” the statement said. ” His reference to the Neal Gabler book he was reading only reinforces the notion that Jewish directors, producers and financiers are there in Hollywood as Jews.  They’re not, and the book does not draw that conclusion.”

The ADL is implicitly saying that yes, Jews run Hollywood, but it really doesn’t make any difference. Their Jewish identity has absolutely no influence on the product. It’s reminiscent of Ben Stein noting that about 60% of the top positions in Hollywood are held by Jews: “Do Jews run Hollywood? You bet they do — and what of it?” (here, p. l). Such pronouncements are made ex cathedra, as it were. We are not given a reference to a sober assessment of whether Jewish identity makes a difference.

So, as a public service to the ADL and other like-minded organizations, I refer them to an article I wrote on the topic (Ibid., p. li ff)

In general, television portrays Jewish issues “with respect, relative depth, affection and good intentions, and the Jewish characters who appear in these shows have, without any doubt, been Jewish—often depicted as deeply involved in their Judaism” (Pearl & Pearl 1999, 5). …

Television presents images of Jewish issues that conform to the views of mainstream Jewish organizations. Television ‘invariably depicts anti-Semitism as an ugly, abhorrent trait that must be fought at every turn’ (p. 103). It is seen as metaphysical and beyond analysis. There is never any rational explanation for anti-Semitism; anti-Semitism is portrayed as an absolute, irrational evil. Positive, well-liked, non-Jewish characters, such as Mary Tyler Moore, often lead the fight against anti-Semitism ….

Regarding Israel, ‘on the whole, popular TV has conveyed the fact that Israel is the Jewish homeland with a strong emotional pull upon Diaspora Jews, that it lives in perpetual danger surrounded by foes, and that as a result of the constant and vital fight for its survival, it often takes extraordinary (sometimes rogue) measures in the fields of security and intelligence’ (Pearl & Pearl 1999, 173). …

In the movies, a common theme is Jews coming to the rescue of non-Jews …

Christianity is typically portrayed as evil, even going so far as depicting Christians as psychopaths. [citing Michael Medved] … small towns [are portrayed] as filled with bigots and anti-Semites.

*    *   *

Since the 1960s the Hollywood creative community has disseminated views on issues such as sex, marriage, and family very different from those held by the majority of Americans and traditional American elites (Lichter et al. 1994; Powers et al. 1996; Stein 1979). A substantial percentage of the Hollywood creative community (which now includes the higher levels of control over movie content rather than only the process of screen writing) have self-consciously aimed at a complete restructuring of America’s basic institutions in a left/liberal direction (Lichter et al. 1994; Powers et al. 1996). “The elite was [since the 1960s] and remains disproportionately anti-Establishment in its social and political views and . . . remains so even as a large segment of the American public continues to be ambivalent, or opposed to the new social paradigms” (Powers et al. 1996, 48).

Moreover, the social and political messages emanating from Hollywood have been impervious to election returns, and “if anything, the ascendance of conservative politics in Washington may have accelerated television’s leftward tendencies by alarming and mobilizing the predominantly liberal Hollywood community” (Lichter et al. 1994, 418). Powers et al. (1996, 207) characterize television as promoting liberal, cosmopolitan values, and Lichter et al. (1994, 251) find that television portrays cultural pluralism in positive terms and as easily achieved apart from the activities of a few ignorant or bigoted miscreants. On the other hand, Powers et al. (1996) find that themes of racial conflict resulting from white racism are more typical of the movies: “Today, moviemakers seem preoccupied with exposing and rectifying the evils of racism and are thus inclined to convey a quite pessimistic view of race relations” (p. 173). (Chapter 2 of Separation and Its Discontents, p. 57)

In other words, the Jews who run Hollywood have attitudes that are squarely within the mainstream of the American Jewish community and often sharply divergent from the attitudes of the rest of America. As Andrew Joyce notes,

But what of the impact of this cryptic Judaic subculture on the production of secular culture for the masses? It’s evident that in many cases the resultant cultural production is incredibly hostile towards the behaviors and traditions of non-Jews, and that the impartial objectivity of “Jewish artists” … is itself a self-deception. (see following link)

But what I would like to stress here is Andrew Joyce’s account of how Jewish identity influences Hollywood in his excellent series on Jewish self-deception, particularly Part 4: “Self-Deception in Jewish Participation in Secular Culture.”

Jews involved in the media and the entertainment industries have to a marked degree engaged in self-deception about the influence of their Jewish identity on their activities in these fields. For example, David Dresser and Lester Friedman have pointed out that literary critics are often perplexed by the denials of Jewish authors that their works have been influenced by their ethnicity, even when such influences are obvious. Dresser and Friedman note that such flagrant, yet apparently earnest, denials have been attributed by experts to “conscious evasion, a personal blind spot, or a psychological problem.”[3] The second argument here is that Jews have engaged in self-deception about the extent and nature of that involvement. Self-deceptions regarding the extent of Jewish influence in the media are principally facilitated by two enablers: lies of omission, and the employment of language euphemisms. A typical example would be the fact that, even discounting the presence of Jews in the most influential positions, the enormous over-representation of Jews in the media professions is down-played to a truly remarkable degree. The most popular expression of Jewish self-deception in this respect is the concession that there is, as stated in the ADL-sponsored Anti-Semitism in America, only a “grain of truth” to assertions that this over-representation is vast and amounts to domination.[4] 

Producer David O. Selznick who proclaimed “I am an American, not a Jew,” is a good example.

This was despite the fact that Selznick had previously contributed to the work of the American Jewish Congress,[11] and was strongly attached to the Jewish causes like the Committee for a Jewish Army of Stateless and Palestinian Jews during the 1940s — along with other ‘assimilated’ secular media Jews like Sam Goldwyn, Louis B. Mayer, Jack Warner, and Harry Cohn.[12] That Selznick was embedded in a non-religious Judaic subculture is further evidenced by the fact he was involved in one of its most popular fads — he had a “preoccupation with psychoanalysis on both an individual and a social level,” which led to his collaboration with Alfred Hitchcock on Spellbound.[13] Selznick was “zealous in fighting anti-Semitism,” made personal financial contributions to Jewish charities, and also used some of his influence to ensure the subtle but steady presence of Jews in war films during the 1940s, in what Steven Carr describes as an “attempt to sell a pluralistic American ideal.”[14]

When asked to review the 1936 French biblical film Golgotha, Selznick found the picture to be anti-Semitic. He subsequently wrote to the head of the board of directors at his production company: “It is my duty as a Jew to do everything in my power to keep the picture from being distributed or exhibited in this country, and I will stop at nothing to achieve this end.”[15] Selznick even worked directly with the AJC on movie production. Carr writes that both Selznick and Irving Thalberg (producer of The Good Earth and Ben Hur) attended a meeting with the American Jewish Congress in 1936, during which they were given “story outlines for films” that would “promote a positive vision of the Jew.”[16]

It is therefore abundantly clear that there is more than a little deception and self-deception in Selznick’s claim “I am an American, not a Jew.”

Yes indeed. But of course the ADL is not concerned with honestly ascertaining Jewish identities and what that means for what comes out of Hollywood and what is off limits (e.g., any sense that it is legitimate and natural for Whites to identity as White and pursue interests as Whites). For them it’s not really about deception or even self-deception. It’s about coming up with a line that has some surface plausibility (if one doesn’t investigate any further) and then usoldmaning all its power against anyone who says otherwise. For the ADL it is truly a matter of “Is it good for the Jews?,” and since attributing too much power to Jews in Hollywood has an obvious downside for Jews generally, they will do what the can to crush people like Gary Oldman.

When the ADL and the people who run Hollywood are through with Oldman, he will become yet another example of a career destroyed by saying something that everyone knows is true. And in that sense, Gary Oldman will become an exemplar of the power of our hostile elite to enforce thought control.

It’s well known that if you you repeat an idea often enough, it starts to sound true and obvious — so much so that it will become a psychological reflex. So my advice is that you should studiously rehearse just what to say during interviews in very public places like Playboy. That way when you are feeling full of yourself during your interview (“Wow, I must be really cool to be interviewed by Playboy!”), you won’t impulsively blurt out inconvenient truths that will destroy your life.

So to stay out of trouble, just keep repeating thoughts like these over and you will be just fine:

Jews do not run Hollywood;
and even if they do (or, as the ADL says, even if there’s a “grain of truth” in it), the Jews who run Hollywood have no sense of Jewish identity;
and the values promoted by Hollywood have nothing to do with being Jewish;
so even if Jews run Hollywood, it makes absolutely no difference that they do.

I know it’s a mouthful, but when these thoughts become psychological reflexes, you will feel much  more confident going into interviews, and your career will not be endangered by a moment’s thoughtlessness.

So study up America! Your life depends on it.

The weasel lacking a spine known as Gary Oldman, who I had thought was a bit tough after his satirical apology to the Jews, has gone on the show of fat Jew Jimmy Kimmel and teared up as he profusely apologized for having stated the obvious and entirely factual fact that Jews run Hollywood.

I said some things that were poorly considered, and once I had seen it in print, I could see that it was offensive, insensitive, pernicious, and ill-informed. And, well, you know, words have meaning. They carry weight and they carry on long after you’ve said them and I don’t condone or excuse the words I used, well, in any context. I just basically shouldn’t have used them in any context. But I did, and I have deeply injured and wounded a great many people. So– I just want to– I appreciate you having me here and extending your hospitality to put me in this seat once again and it gives me the opportunity to say to those people, that I, from my heart, I am profoundly, profoundly sorry and deeply apologetic. You know, especially to the fans, because they have been so incredible to me and very loyal. My nickname is that they’re like Team Oldman, and I really feel that I let them down. Especially to the younger fans, you know, I should be–I’m a public figure. I should be an example and an inspiration, and I’m an A-hole. I’m 56, and I should know better.

Humiliating and sickening as this obviously was, bowing like a whipped dog before the baboon kike Jimmy Kimmel, I still imagine that Oldman has killed his career.  Jews do not forgive and they do not forget.  And they had pretty well already buried him.

Sad that he couldn’t man-up, go on the Jew show like he was going to apologize, and then say something like “someone has to stop these kikes!”

But alas.

The best possible result has resulted from the Gary Oldman “Mel Gibson was right” drama – Abe Foxman has doubled down on the attempted crucifixion of Oldman, rejecting his sarcastic apology as not good enough.

In his apology, Gary first said he was sorry for saying Jews run Hollywood, then cited a book about how Jews run Hollywood.

Foxman has said that Jews do not run Hollywood, but that he is presently in the process of shutting down Gary Oldman’s career, by working with his fellow Jews who, apparently, without running Hollywood still somehow have the ability to destroy the career of a popular and Oscar-nominated actor if that actor claims that they do run Hollywood.

Here is the entire Foxman statement:

While his apology may be heartfelt, Mr. Oldman does not understand why his words about Jewish control were so damaging and offensive, and it is therefore insufficient.

His reference to the Neal Gabler book he was reading only reinforces the notion that Jewish directors, producers and financiers are there in Hollywood as Jews. They’re not, and the book does not draw that conclusion. They are there acting as individuals. They do not pursue a Jewish agenda or strategy. They are there acting as professionals and Americans with skills working alongside many other non-Jews who are also in show business for the same reasons.

Mr. Oldman needs to recognize that his words, not just as they were written, but as he uttered them, are deeply offensive. And he needs to be sensitive to the fact that other remarks for which he has yet to apologize – including his disparaging remarks about the Pope and about gay people – were also deeply troubling and hurtful to many.

Whether they intend it or not, celebrities act as role models and bear an outsized responsibility for their words and their actions. Oldman needs to make clear not only to the Jewish community but also his fans that his words are predicated on offensive notions and, as such, are clearly unacceptable.

And he is openly planning to shut him down by working with his Jew producer buddies who run Hollywood as individuals but will destroy anyone who mentions Jews as a group.

Variety:

“We have just begun a conversation with his managing producer,” said Abraham H. Foxman, national director of the ADL. “At this point, we are not satisfied with what we have received. His apology is insufficient and not satisfactory.”

A couple of things could happen here.  Either Oldman is himself so fed up with these Jews that he doesn’t care any more, and is ready to continue trolling them until his career is completely destroyed, or he is going to fold and go on TV and cry.  I don’t see how he could get away with anything less than crying publicly, after the sarcastic letter, which must have sent Foxman into a seizure.

Whatever happens, this is good for us.  The Jews are so self-absorbed that they are sometimes incapable of strategizing when they feel threatened.  They could have easily let Oldman’s comments slide, and no one would have thought anything of it.  Instead, they make this massive public spectacle, and everyone is like “hmmm, why would a Hollywood actor claim that Jews run Hollywood if they do not, and how if they do not are they capable of destroying the career of anyone who questions them?”

This leads to the obvious realization that Hollywood is completely Jewed-out to the max, which then leads people to ask why the Jews insist on promoting values via the entrainment industry which are so contrary to mainstream American values.  It also leads to the question “what else do they control?”

The Jew rat Roger Friedman, a former Fox News columnist who now runs his own entertainment blog, has declared an end to Gary Oldman’s career, saying he cannot possibly sustain his Antisemitic self.

From his site, Showbiz411:

British actor Gary Oldman has had a nice very career in Hollywood. Now, it’s over. Oldman tells Playboy magazine that Hollywood is “run by Jews,” suggests that those Jews make fun of Germans, and says that the policeman with whom Mel Gibson became embroiled in a huge anti-Semitic scandal probably is anti-Semitic himself. Oldman seems unaware that James Mee, the policeman, is Jewish himself.

Good bye, Gary. We can live without you. And trust me, we will. Oldman was nominated for an Oscar in 2012 for “Tinker, Tailor, Soldier, Spy.” I hope he enjoyed it.

How funny it is that saying that Jews run Hollywood is so offensive to the Jews that it will cause the Jews that run Hollywood to end your career if you say it.

Friedman was fired from Fox News after having illegally downloaded a copy of X-Men Origins: Wolverine to write a review of it.

As many a commenter pointed out on the last piece about Gary Oldman, his apology does indeed appear to be completely sarcastic. I feel a bit silly for having not noticed it. But we just expect these Hollywood people to have no spine.

Also in my defense, I am also generally, even in real life, unable to understand British humor without having it explained to me at least three times.

Along with this, I had just woken up, and wrote the thing without having had my coffee.

Let’s look at the full statement, sent both to the ADL and the Simon Wiesenthal Center, once again, with a bit of my emphasis:

Dear Gentlemen of the ADL:

I am deeply remorseful that comments I recently made in the Playboy Interview were offensive to many Jewish people. Upon reading my comments in print—I see how insensitive they may be, and how they may indeed contribute to the furtherance of a false stereotype. Anything that contributes to this stereotype is unacceptable, including my own words on the matter. If, during the interview, I had been asked to elaborate on this point I would have pointed out that I had just finished reading Neal Gabler’s superb book about the Jews and Hollywood, An Empire of Their Own: How the Jews invented Hollywood. The fact is that our business, and my own career specifically, owes an enormous debt to that contribution.

I hope you will know that this apology is heartfelt, genuine, and that I have an enormous personal affinity for the Jewish people in general, and those specifically in my life. The Jewish People, persecuted thorough the ages, are the first to hear God’s voice, and surely are the chosen people.

I would like to sign off with “Shalom Aleichem”—but under the circumstances, perhaps today I lose the right to use that phrase, so I will wish you all peace–Gary Oldman.

So, yes. I am presently unable to read this in a way that does not come off as mocking these rats, scathingly.

He first says “sorry about the stereotype that Jews run Hollywood” and then cites a book by a Jew saying that Jews run Hollywood. Then he actually says “God’s chosen people,” which, unless it is literally boot-licking, can only be taken sarcastically (pretty sure Oldman isn’t a devout zio-Christian who could potentially make such a statement in seriousness). And then “the Shalom” bit – that is hilarious.

So, the ball is in the Foxman’s court. He can either dip out and accept this fake apology that intelligent people see is in fact mocking him and his entire disgusting parasite race, or he can whine about it being sarcastic, and then try and explain how the Jews don’t really run Hollywood while dealing with an academic citation proving that they in fact do run Hollywood.

I suspect Gary has won this round, but his career will now wither and die. However, the best thing for us is if Abe calls out the apology as sarcastic and the drama continues to roll. The more drama there is, the more the Jews expose themselves as hate-filled criminal weirdos who control all of society.

You really have to wonder what Gary Oldman was thinking when he made his recent truthful statements about the sickening parasite Jews. I had almost thought he must have been ready to back the statements, or he wouldn’t have said them in the first place. But he was probably on drugs.

Anyway, as expected, he has bowed down and kissed the yellow toenails of Abe “The Claw” Foxman, begging forgiveness and mercy from that most vile of peoples who control his degenerate industry and the entire Western world.

Dear Gentlemen of the ADL:

I am deeply remorseful that comments I recently made in the Playboy Interview were offensive to many Jewish people. Upon reading my comments in print—I see how insensitive they may be, and how they may indeed contribute to the furtherance of a false stereotype. Anything that contributes to this stereotype is unacceptable, including my own words on the matter. If, during the interview, I had been asked to elaborate on this point I would have pointed out that I had just finished reading Neal Gabler’s superb book about the Jews and Hollywood, An Empire of Their Own: How the Jews invented Hollywood. The fact is that our business, and my own career specifically, owes an enormous debt to that contribution.

I hope you will know that this apology is heartfelt, genuine, and that I have an enormous personal affinity for the Jewish people in general, and those specifically in my life. The Jewish People, persecuted thorough the ages, are the first to hear God’s voice, and surely are the chosen people.

I would like to sign off with “Shalom Aleichem”—but under the circumstances, perhaps today I lose the right to use that phrase, so I will wish you all peace–Gary Oldman.

This is significantly more shameful than the Kanye apology, but still not as bad as the Brando apology. As far as apologies to the Jews for saying something true about them go, Mel’s was least shameful, as it was the most obviously fake.

Hollywood people are all so sickening and spineless. They have so much money and power – all given them by the people – and yet refuse to do anything for the people.

They should all be put in concentration camps for serving as shills for the Jew.

Once again, a Hollywood figure has come out with a statement against the Jews. Or, rather, a statement which will be perceived by the Jews as a statement against the Jews.

Gary Oldman, who played Chief Gordon in the most recent Batman films, defended Mel Gibson’s Antisemitic statements in a recent interview with Playboy by saying “take a f*cking joke” and “get over it.”

This is interesting, because when Mel said “F*cking Jews. The Jews are responsible for all the wars in the world,” when arrested for a DUI, I don’t think it was meant to be a joke.

He also said “we’ve all said those things,” which is the part that is really going to upset the Jews.  This of course implies that everyone in Hollywood gets sick of dealing with the lying, sneaking Jews who control the film industry.

“We all hide and try to be so politically correct. That’s what gets me,” he continued.

Here is the entire excerpt from the Playboy interview, given to a Mr. David Hochman, who is presumably himself a Jew.

PLAYBOY: Mel Gibson?

OLDMAN: Yeah.

PLAYBOY: What do you think about what he’s gone through these past few years?

OLDMAN: [Fidgets in his seat] I just think political correctness is crap. That’s what I think about it. I think it’s like, take a fucking joke. Get over it. I heard about a science teacher who was teaching that God made the earth and God made everything and that if you believe anything else you’re stupid. A Buddhist kid in the class got very upset about this, so the parents went in and are suing the school! The school is changing its curriculum! I thought, All right, go to the school and complain about it and then that’s the end of it. But they’re going to sue! No one can take a joke anymore.

I don’t know about Mel. He got drunk and said a few things, but we’ve all said those things. We’re all fucking hypocrites. That’s what I think about it. The policeman who arrested him has never used the word nigger or that fucking Jew? I’m being brutally honest here. It’s the hypocrisy of it that drives me crazy. Or maybe I should strike that and say “the N word” and “the F word,” though there are two F words now.

PLAYBOY: The three-letter one?

OLDMAN: Alec calling someone an F-A-G in the street while he’s pissed off coming out of his building because they won’t leave him alone. I don’t blame him. So they persecute. Mel Gibson is in a town that’s run by Jews and he said the wrong thing because he’s actually bitten the hand that I guess has fed him—and doesn’t need to feed him anymore because he’s got enough dough. He’s like an outcast, a leper, you know? But some Jewish guy in his office somewhere hasn’t turned and said, “That fucking kraut” or “Fuck those Germans,” whatever it is? We all hide and try to be so politically correct. That’s what gets me. It’s just the sheer hypocrisy of everyone, that we all stand on this thing going, “Isn’t that shocking?” [smiles wryly] All right. Shall I stop talking now? What else can we discuss?

PLAYBOY: What do you think of the pope?

OLDMAN: Oh, fuck the pope! [laughs and puts head in hands] So this interview has gone very badly. You have to edit and cut half of what I’ve said, because it’s going to make me sound like a bigot.

PLAYBOY: You’re not a bigot?

OLDMAN: No, but I’m defending all the wrong people. I’m saying Mel’s all right, Alec’s a good guy. So how do I come across? Angry?

PLAYBOY: Passionate, certainly. Readers will have to form their own opinions.

OLDMAN: It’s dishonesty that frustrates me most. I can’t bear double standards. It gets under my skin more than anything.

So, we count down to the public apology.